Volume 7, Issue 12, December – 2022
ISSN No:-2456-2165
If Artists Were Given more Opportunities, would they
have a Better Chance at Financial Viability?
Pari Gupta
Loreto House School
Abstract:- Art helps people to express themselves, it speaks
to people in a way that words definitely cannot. Whether it's
fine art like painting and sculpting or performance art like
theater, dance, or music, it has a deep influence on both the
artist and the viewer and acts as an effective stress reliever.
Art forms like music, literature, etc. have a great impact on
our mental health making us feel more optimistic and
relaxed. Despite this fact, thousands of artists don’t get the
opportunities they deserve. Since they are unable to
showcase their work and reach out to audiences, their hard
work and talent remain unappreciated due to which they
fail to make their work financially viable. Consequently,
people don’t pursue arts as a career due to the fear that they
wouldn’t be able to make a satisfactory income. However,
artists have made progress in recent years with the
emergence and growth of media and technology. For
example, the film and music industry is huge but there are
hundreds of artists who are extremely talented but are still
struggling to get an opportunity in these fields. In other
words, artists are not given the opportunities they deserve
and hence they are unable to make their work financially
viable.
I. LITERATURE
The literature has identified the economic impact of art
and how it is a major contributor to economic vitality. It also
studies the growth of productivity and earnings of the regional
economy due to the presence of art (Markusen and King, 2003).
This is a unique industry and the literature also talks about the
high self-employment rate of artists, the important role that they
play in urban economies, and how they have a great potential to
lead in social and urban transformation (Markusen, 2006,
38(10), 1921-1940). However, very little attention has been
paid to artists and their artistic/ creative endeavors and studies
the importance of art and artists in their community and social
life and how we are still unaware of the diversity, contribution,
goals, etc. of these artists(Jackson, 2004, 34(1), 43-58 and
Caves, 2000, No. 20). This is a gap I wish to fill through my
research.
The literature has extensively explored the barriers and
challenges faced by artists and how they can overcome these
hardships. For example, the literature studies failure in the
IJISRT22DEC927 www.ijisrt.com
International Journal of Innovative Science and Research Technology
creative field and how these failures can be overcome.
Creativity support tools as examples of the potential value of
supporting activities ( Kim, Bagla, and Bernstein, 2015, pp.157-
160). It speaks about the boundaries which hamper innovation
in the art world, the role of amphibious artists in bridging the
gaps as well as ways in which we can link artists to those who
consume their products. (Patriotta and Hirsch, 2016, 37(6), 867-
887). It speaks about how the means of providing and marketing
professional artistic services is a good business. It also talks
about the potential sources of market failure and how artistic
performances have a feature of a natural monopoly. (Adler,
2006). It focuses on the exceptional economy of arts and how
artists earn very little. Although art operates successfully in its
marketplace, artists are unable to make a satisfactory income
and require subsidies to grow their income. (Abbing, 2008, p.
368). My research is based on performance and fine artists in
Kolkata. Through both primary and secondary research I will
find out if they are given more opportunities to showcase their
work, would they have a better chance at financial viability?
The literature speaks about the lack of opportunities and
financial viability for artists and I wish to elaborate on these
themes. I wish to contribute to the present literature and take it
forward by proving that this issue is prevalent in my region as
well. I will also be elaborating more clearly on the research
question and try to find any missing patterns which have not
been studied yet.
II. METHODS
I will be conducting my research by interviewing
struggling artists and asking them about what it is that they
think is stopping them from becoming successful, their goals
and expectations, and their reasons for choosing arts as a career.
In addition to this, I will also speak to established artists to find
out how they have made their careers financially viable and how
they reached the positions they are in now, why they have
chosen this path, do they think all artists currently get equal
opportunities and if luck is an important factor in this highly
competitive field. Speaking to both sides will give me a good
idea of what the art industry is currently lacking and what
should be done to help more artists. One of the reasons for doing
qualitative research is that this method implicitly assumes a
richness of data because a case study is intended to examine a
phenomenon in its real-life context (Yin, R.K, 2000, pp. 185-
193) I believe that conducting interviews will help me gain
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more insight into this topic and learn about the views of artists
who are going through this issue. Moreover, I will be
conducting secondary research to gain more information on
how performance and fine artists can make their careers
financially viable. I will do this by going through the research
done in this field to find out about the lack of opportunities for
artists and how they can make their careers financially viable. I
think that doing both primary and secondary research will give
me a good idea about everything that has already been found as
well as any missing patterns.
III. RESULTS
The first interview was with Priti Patel, who was initiated
into the world of dance at the age of five and received her
training from eminent Manipuri dance gurus, the Late Guru
Bipin Singh, and the Jhaveri Sisters. Through the rigorous
training, she underwent under her Gurus, especially Smt.
Darshana Jhaveri excelled as a danseuse in this form of dance
and especially in the Vaishnavite Ras Leela form of the
Manipuri dance tradition.
Mrs. Priti Patel said that it was her destiny and her passion
for dancing that led her to become such a successful artist. Priti
described her success as coming down to luck. However, she
also said that artists can’t make their work financially viable
and especially in India, it is difficult for them to earn and make
a living through it- “In India, we don’t make money, it is
because of our passion that we do this.”
She said that a few of the most important things which can
help an artist establish themselves in this competitive field are
hard work, sincerity, and humility- “You have to keep learning,
and learning only comes if you’re humble.” She said that it is
extremely essential for one to accept criticism and not be
arrogant and impatient.
In addition to this, she said that art is something that is
done because of passion and love and not to earn an income.
She agreed that all artists face different challenges and many
times it is not possible for all of them to get equal opportunities
and recognition. She concluded by once again emphasizing the
importance of destiny- “There are many talented artists who
have not made it and yet there are not so talented artists who
have made it, so really it’s your destiny.”
My next interview was with Mr. Paresh Maity, an Indian
painter. He is a prolific painter with a short career span. He has
had 81 Solo Exhibitions in forty years of his career. In his early
years, he did many watercolors in different locations. He
gradually moved from atmospheric scenery to representations
of the human form. His more recent paintings are bold and have
graphic quality, with strong color and unusual cropping. His
works are in several collections, including the British Museum,
and the National Gallery of Modern Art, New Delhi.
IJISRT22DEC927 www.ijisrt.com
International Journal of Innovative Science and Research Technology
ISSN No:-2456-2165
He said that his success is all due to God’s Grace and his
sole purpose for painting is love, passion, and emotion. He said
that was only seven years old when he saw artisans making
idols for the festival of ‘Durga Puja’ in Kolkata. Their hard
work and devotion are what inspired him to pursue arts as a
career.
He agreed that art is an extremely competitive and
challenging field and it is very rare for people to become very
successful- “Every 10-15 years there is only one artist who will
sustain and be a famous artist and that is a truth I have noticed.
It is a very challenging field.”
He said that the only reason behind his success is God’s
grace and blessings. He said that artists are mere tools working
with love and passion. He expressed his love for art by saying-
“Art is my life and my life is art. When I paint or make
sculptures I think that I will make the best art by which I can
bring joy and happiness to people.” Moreover, he said that the
only things that help people to succeed are hard work, patience,
and most importantly a clear vision.
He too agreed that luck is an important factor in this field,
however, all the things work together- your efforts, talents,
luck, and your passion. He concluded by saying- “Hard work is
the greatest wealth in life, there is no shortcut. All fields take a
lot of patience and hard work and importantly your vision has
to be very clear.”
I also conducted two interviews with the artisans who
make idols for the festival of “Durga Puja” in Kolkata. They
work for several months before the festival to complete the
sculptures. They both agreed that they don’t get paid as much
although they put in a lot of hard work, time, and effort. They
said that they had been making these sculptures for about 30-35
years and they have seen their parents do the same. They said
that this work gives them a lot of joy and they truly enjoy it.
They added that the most important thing is working hard and
doing your work well and they believe that depending upon the
kind of work one puts in one can earn sufficient income and
also get recognition. Furthermore, they said that their only
reason for doing this was love, passion, and devotion and they
would love to keep continuing this work.
IV. DISCUSSION
All the artists speak about the passion, devotion, and
emotions involved in this field and their love for art. Successful
artists have spoken about the importance of hard work,
determination, and focus to establish themselves in this highly
challenging field. They emphasize destiny and fate as important
factors in achieving success. Luck emerges among all of the
successful artists. They have also agreed that a lot of artists do
not get proper recognition and fame and it is extremely difficult
for them to make a living through their art. The literature
reflects the importance of opportunities for artists and financial
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viability. It talks about the lack of recognition and explores the
barriers and challenges faced by artists. It highlights the fact
that artists don’t receive adequate income. I think this too is
reflected by the fact that all of the artists have given more
importance to luck rather than talent. Moreover, the artists also
confirmed that they cannot depend on art for their daily income
due to a lack of financial viability. Thus, the data verify the
prevalence of this issue in my region and elaborate on the main
themes of the literature. Both unsuccessful artists said that they
put in a lot of hard work and effort, however, they don't earn as
much money or respect as they deserve. Nevertheless, all artists
agreed that it is their unconditional love and passion for art that
keeps them going.
V. CONCLUSION
Art plays an important role in all our lives by helping us
express ourselves and rejuvenating us. It acts as an effective
stress reliever, having an extremely positive impact on our
mental health. Artists all over the world work extremely hard to
perfect their art however, both the literature as well as the data
ostensibly proves that they do not get adequate income as well
as recognition. It shows how art is an extremely competitive
field and artists struggle all their lives to earn success. This
evidence confirms the hypothesis that if artists are given more
opportunities to showcase their talents, they would have a better
chance at financial viability.
International Journal of Innovative Science and Research Technology
ISSN No:-2456-2165
[5]. Kim, J., Bagla, A., & Bernstein, M. S. (2015, June).
Designing creativity support tools for failure. In
Proceedings of the 2015 ACM SIGCHI Conference on
Creativity and Cognition (pp. 157-160).
[6]. Markusen, A., & King, D. (2003). The artistic dividend.
The Art’s Hidden Contribution to Economic Development.
Minneapolis.
[7]. Markusen, A. (2006). Urban development and the politics
of a creative class: evidence from a study of artists.
Environment and planning A, 38(10), 1921-1940.
(https://www.877gethope.org/)
[8]. Patriotta, G., & Hirsch, P. M. (2016). Mainstreaming
innovation in art worlds: Cooperative links, conventions
and amphibious artists. Organization Studies, 37(6), 867-
887. (creativemn.org)
[9]. Yin, R. K. (2000). Case study evaluations: A decade of
progress?. In Evaluation models (pp. 185-193). Springer,
Dordrecht. (omu.edu.tr)

LIMITATIONS

This study has some limitations. One limitation of the

research study is the small number of participants. According
to the extent of my research I anticipated that interviewing 4
participants would help me reach the results.

ACKNOWLEDGEMENTS

I would like to thank Lumiere Education Program and my

mentor, Cody Dodd for guiding me through the procedure of
writing a research paper and helping me throughout.

REFERENCES

[1]. Abbing, H. (2008). Why are artists poor?: the exceptional

economy of the arts (p. 368). Amsterdam University Press.
(https://library.oapen.org/)
[2]. Adler, M. (2006). Stardom and talent. Handbook of
economics of art and culture.
(https://www.researchgate.net/)
[3]. Caves, R. E. (2000). Creative industries: Contracts
between art and commerce (No. 20). Harvard University
Press. (https://www.crb.gov/)
[4]. Jackson, M. R. (2004). Investing in Creativity: A study of
the support structure for US artists. The Journal of Arts
Management, Law, and Society, 34(1), 43-58.
(https://webarchive.urban.org/)

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